remembering the body

every picture tells a story
reading Alan Berecka’s Remembering the Body

1

no small thing, this
pointing

the way
where story
thinks itself at war

with vision

2

where there is no vision
the people perish

intriguing, this
telling

stories for the dead

3

not how you play
the game, the game

itself. no point
piling points up

in this dark place

4

playing weiqi
thinking pinball

missing prayer bells
that may just be the point,

no verb contained

5

but not for lack of walls
not for lack of icons

hanging on them

6

every icon
a crack, a crack
in everything. that’s how

the light gets in
bathed in blood, the way
the creator is

reviewed by Steven Schroeder, Chicago

Alan Berecka. Remembering the Body. Mongrel Empire Press, 2011. ISBN 978-0-983-3052-0-0.

elegy for trains

seeing in circles
reading Ben Myers’ Elegy for Trains

1

what is not here is always
here. there is no there
there. it is hard

to plant one green thing.

out there is
America,

seeing in circles.

the city is where I am. we
is that by which I am.
mountains always

wait for nothing.

2

somebody’s grandmother
thought a white horse
is not a horse.

the whiteness of the whale
passes. the whale
remains.

3

my daughter’s eyes
roll at the sound
of Iowa.

she knows
suffering a day there
will suffice for a life in poetry.

around here, we pronounce that Ohio.

4

a just word is
worth a thousand pictures.

nothing always
rights itself,
like a book,

like a river
that eats levees

the way you say modernity
ate its scholars, like
the memory
of water.

5

tadpoles are a city
at your feet.

trains pass.
the poem is nothing.

6

water never leaves the sky.
every real boy lies
in some bloody city.

dry is forgetting how to love
for so long every prophet turns
and runs. every gourd vine withers

while god counts cattle,
waiting for nothing.

7

a poem could be a failure
of stem cells, a failure
we will never

correct. never
finished, it is
abandoned.

8

we are
now, beginnings

everywhere. crows see
the light, get happy.

spirit breathes
on the face
of every body

of water. pray
for rain.

sun, you know,
doesn’t rise at all.

it stands still
while the world
turns, dripping
waves of joy

we take for light.

9

take, read,
this is my body.

10

light catches everything,
contains nothing, a blessing.

reviewed by Steven Schroeder, Chicago

Benjamin Myers. Elegy for Trains. Cheyenne, OK: Village Books Press, 2010. ISBN 978-0-9818680-6-6.

the origin of species and other poems

paradise is not a gift, it is an offering
for Ernesto Cardenal, on reading The Origin of Species and Other Poems

1
he came, not
from nowhere, saying
revolution now
revolution —
now

turn turn turn
and, turning, walk
the walk as though you
mean it

2
writing to a circle
of his friends, Paul
said of another

we’re fucked
if he did not rise

his editors cleaned this up
so there would be no danger
of someone taking offense

if we read it when
there were children
in church. suffer

the little children who
know if there is no
danger, there is no

possibility. Saul,
Saul, can’t you see
we’re fucked whether he

did or did not?
every one of us is
falling. but if one falling

rises, all
rise. all rise.
turn turn turn
and, turning, walk
the walk because you mean it.

3
every single one of us is
still rising from a single
cell learning to walk
on water — but all
fall, and we crawl
before (learning
to walk) we rise

again again again
and again.

4
not one
word.

if Anna’s cruel age
taught us nothing
else, it taught us

what is bad is being
sure we know
what we

have
is final

i can’t say
if cats name
names, but i know
they know a name when
they hear it — and i can say
most of what i know was
named before i came
to know it. still,

i know a named when
a fitting name is spoken

5
in this silver blue
lake, serene,
i think blue mountains
the silver of the mirror lake

6
Ernesto, a cosmos
filled with white
holes making Lebensraum

chills me. nothing
matters more
than emptiness

when it comes to light.

7
i think the bison
on the wall
stood

for bison on the wall
and children playing know
that is good. that is very good.

8
why not a bus
with a sign that says
Delphos and means what it says,

or an insect nothing
but a salamander
snack

that leaves
nothing but a wall
right where it belongs?

9
a bus is as good a way as
any to see years ago
pink girl, in blue

in Alabama or Virginia
on a ladder plucking apples
the sister, blue too, painting white
on the facade gazing at time passing

the white painting still fresh
the brush dripping
the hand on the apple

the gaze. on the bus
or off, the state forgotten
Malcolm knew, not
the facade

10
entre el cristianismo y revolución no hay contradicción
turn turn turn, and turning walk the walk
because you mean it

reviewed by Steven Schroeder, Chicago

Ernesto Cardenal. The Origin of Species and Other Poems. Translated by John Lyons. Lubbock, TX: Texas Tech University Press, 2011. ISBN 978-0-89672-689-5.

bluster

keep the show on the air
reading Melissa Morphew’s Bluster

1

Decay so everyday natural it’s not necessary
to stop and catch your breath, just hold on
to the only matchstick pole not broken
in this hurricane while the camera
rolls. Stand pat, keep talking,
keep the show on the air.

Matter of fact autopsy of the sacrament
of marriage in a voice so Tennessee
soft it covers every sharp corner
the way kudzu does till
all the world is green

and you’d swear there’s nothing there
that could cut you, all smiles bland and
expected as the courtesy of name tags.

2

You see the haint at the front door when
you open it, standing there plain as day

an orphan, and you take her in
because you can’t even leave

the cold that will drown you
homeless. And you know

you have to keep the door
ajar for the spirit

that will make you sway
like dancing, but it is no sin,

the way the gray contempt for sky
you call a storm edged perfect day
looks like hope, but it is no virtue.

3

take a hard look at what you thought
love and you won’t doubt
the world is flat

no matter what they say about that oblate
spheroid shit. The edges are there all right
shrouded in time like some parasite
vine so dense no light escapes,
and it will cut you.

Call all this miscellaneous
for a laugh in a voice sweet as
candied violets full of purring hope,
but you know there’s a touch of winter
behind it, and it’s bound and determined
to come, come hell or high water.

reviewed by Steven Schroeder, Chicago

Melissa Morphew. Bluster. Sacramento Poetry Center Press, 2011. ISBN 978-0-9831362-1-7.

postcards to jack

One of the best things about Al DeGenova’s Postcards to Jack is that it is aware that a book is a performance (and certainly part of the credit for this goes to Matt Barton and Naked Mannekin Press). The chapbook is right for this collection, and postcards from the road are an appropriate twenty-first century shattering of the road trip narrative with which Jack Kerouac is inevitably associated. Scattering haikus set in a handwriting font among (mostly) prose poems is consistent with the haibun tradition, and it imparts a studied appearance of spontaneity that is a nod to Kerouac’s poetics and a tribute to DeGenova’s disciplined practice of improvisation. Ending the collection with home makes it a nostos journey (not far from Jack’s travels, which never strayed as far from Lowell as one might think in search of “it”). The road is not so much a matter of getting from one place to another as of getting to here now and seeing it new.

This little book begins before it begins, with a poem printed to appear as something scrawled on plain brown paper, on de-iced Indiana asphalt: “nothing moves / save me / at 80 mph…” On the Interstate in Indiana praying for salvation at 80 mph “driving into sunrise / with ten thousand days in tow” — a stunning image of the specific elsewhere in which this poet reads Jack “Loud but not so clear anymore.”

“I’m drowning in this new century, Jack,” DeGenova writes. “Gotta go, gotta go, gotta go, we’re all gonna fuckin’ explode!” Not the atom bomb or the creeping suburbanization of 1950s Cold War America, but “plastic and Wi-Fi nights of virtual conversation — programmed thinking, programmed wars, programmed music, programmed religion… Miles is in the sky… cell phone rings, and no one is there…”

Program or be programmed, as they say…

Yes, Kerouac has a way with sad, and so does DeGenova, “a small word for a poet,” but every poet knows small is beautiful in particular — and that there is no place that is not.

Writing to Jack from all over the place, DeGenova makes his way home, to “the sad eternal core,” which is, no doubt, “old as coal” — not older than love, but its “sad distillate,” made flesh, I’d say, in los abuelos de san juan, the viejos gathering in a plaza by the bay, the dance that “holds the song in its pace.”

DeGenova places the image of being “homesick all my life” in Napoli, but it is with him (as it was with Jack) everywhere he writes. Having spent much of my life on Route 66, that particular gotta go gotta go gotta go struck a chord — blowing yourself into words, becoming “the asphalt of sad Rt. 66,” sets me to thinking how hot asphalt on that old road broken by the rhythm of stop signs and local intersections differs from the de-iced asphalt of the Interstate.

There is so much fuel here for contemplating what it is while on all that road going, going, I think, even when we’re there for the pasticcio. There is a touch of sadness in the image of home at the end, love older than coal that is the product of life decayed (on its way to being diamond):

…Sometimes it’s just time
to go home. Go Jack, to your cats
where Mamere irons your shirts and makes

your highballs. I think it’s time —
my grass at home needs cutting, the deck
needs cleaning. I have to go now

put this box of sad souvenirs away in my closet
behind the beat old gym shoes and
silk ties fallen from their plastic hangers.

I miss her warm thigh against my hip.
There is pasticcio baking in the oven.
Roses are blooming over my arbor.

In the end, as much Candide as Kerouac. I catch my breath with the thunderstorm singing “her wicked, sexy song.” And I want to say to the poet who has made this beautiful sad book, this performance, yes, yes, sometimes it’s just time — and we can all be sure if this is where we want to die we will. We will. There is no other place for it.

Now, play it again.

reviewed by Steven Schroeder, Chicago

Albert DeGenova. Postcards to Jack. Chicago: Naked Mannekin Press, 2010. ISBN 978-1-61584-279-7.

a goldfinch instant

I usually read poetry books in pieces, at whim, leafing through the pages to scan whatever suits my mood of the moment. However, having glanced at the first few pages of “A Goldfinch Instant” by Paul Friedrich, I turned page after page until the very end. It grabbed me and didn’t let go. An artful juxtaposition of prose and haiku keeps tipping the reader back and forth in a kind of emotional mambo. Sweetness and violence pervade the imagery in equal measure. Reminiscences of children and parents, nature and the seasons, little pieces of life and death, all converge to create an emotional geography that matches the varieties of physical geography in the book: Mexico, India, Russia, Paris, and the American locales of Chicago, the Rockies, and the Golden Gate Bridge, among others. The writing is so intense that a sense of near-panic emerges, as if life were too short to contain all of this. And indeed, the most intense experiences appear in the briefer poems, just when the poet seems to promise something of a pause in the action. I even enjoyed reading the endnotes, which explain the poetic references to Mexican, Turkish, and Chinese images, and allusions to T.S. Eliot, Goya, and Durer; these attest to the fact that Friedrich is not only a fine poet but also a great scholar

Donna Pucciani, Wheaton, Illinois

Paul Friedrich, a goldfinch instant: Concord to India Haikus. virtual artists collective, 2010. ISBN 978-0-98198-989-1

child support

Robb Jackson’s latest book is a collection of occasional poems.  Each poem was written for his four children on their birthdays.  As the title of the collection suggests, these poems begin after the end of the marriage from which the children were born.  They are poems written in exile, full of disappointment and longing.  As the years and poems pile up, the poems and the relationships with the children mature.  Each child eventually comes to live with their father to attend the university at which he teaches. The collection is impressive in the way it reaches an emotional critical mass, a heft gained through persistent effort; but this is not to say that each poem is not worthy of individual attention.  Jackson is a poet who toes the line of sentimentality, but he doesn’t cross it.

In my favorite poem of the collection, “Eight Journal Sketches — Taking Leah Home,” Jackson displays his considerable skill as a poet. Here he brings his nearly adult daughter to his own childhood home to visit his aged parents. In this poem the passing of time, the interplay of the generations, are handled deftly. In part five of the poem, the image of his ancient father smiling at the tombstone of his grandfather for a picture taken by Jackson’s daughter foretells the poem’s powerful ending.  In the poem’s final part, “Leaving Again,” Jackson paints an eloquent scene.  “Our eyes meeting in a last look / spark unspoken a recognition / that this may well be the last time / we will all see each other alive. / We look away, moving swiftly to fumble with luggage / & locks & doors to check the tears. / It’s still dark & raining hard as we pull away.” For its look into the psychology of the estranged but caring father, for the artful craft of a fine poet, Child Support is well worth the read.

Alan Berecka, Corpus Christi, Texas

Robb Jackson, Child Support. Corpus Christi, 2010. ISBN 978-1-45373-209-0.

horse and rider

Every poem is a performance, every performance an experiment. (Note to those who put a wall in poetry between page and stage: the world’s a stage, the page included.) The play on these pages explodes sometimes with music, bursts always with Tennessee — and with a Bible pondered in hearts there for a long time. There is a sense, especially in the beginning, that this whole book could go up in song: it dances from eye to tongue and demands to move, like walking into a Holiness church and getting happy.

The title poem (13-14) is a taste of what is possible here: “make of your voice a shaft of flame / shifting into cloud and back again // a rift in a wave, a crack in a wheel, / a road in the midst of the sea; / make of your voice a staff turned snake / turned brass turned tambourine.”

And with “High Lonesome” (16-17), the reader is transported to “Tennessee November: nothing slumbers: / in the barn, bluebottles’ ice-whittled shells / hue the tops of feed and water buckets, // inlay corn shucks and tobacco flakes / instead of the lashes of Appaloosa or Paint, / Everything which could be salvaged // has gone to rot…”

The series of poems that sing weapons in part two (29-46) begins with two virtuoso performances of sonnets (“The Arrow” and “The Bow”) and contains some of the most chilling imagery, as in “The Trebuchet” (34-35): “I teach land-bound things to fly, / turn mountains into missiles. / I loft more than hunks of rock. / With thought and craft, all may be / transformed to weaponry…” The last two lines of the poem — “like you, I’m an ingenious engine, / the union of force and intellect.” — rivet attention not only on weaponry but also on what it means to be human, also brought to mind with jarring clarity in “The Rope” (45-46), which ends with “Twine wasn’t made for this. I should be baling hay. // I’d rather pull a bucket from a well, / haul a rowboat to a dock, give an acrobat a path // across the air. That’s a kinder life for a piece of string. / I’d like to rig a mast up, and hear the sailors sing. // Take me from this limb, or if you keep me here, / tie me to an old tire, and let the children swing.”

There are moments in the last section when pure delight in sound threatens to overwhelm — but that is in keeping with the pentecostal imagery. Carried away, it will taste just right to some, even if it is too much for others. No one will call it bland, and most, I think, will find themselves singing along.

Steven Schroeder, Chicago

Melissa Range. Horse and Rider. Lubbock, TX: Texas Tech University Press, 2010. ISBN 978-0-89672-702-1.

myth, memory, and massacre

Paul Carlson and Tom Crum conclude Myth, Memory, and Massacre with the observation that “…in the larger story of Anglo-Indian conflict in Texas the so-called Battle of Pease River was not particularly significant. Indeed, its importance, such as it is, centers mainly on its use as a lesson in historiography, folklore, and mythmaking. The brief fight along Mule Creek demonstrates again how folklore and collective memory remain difficult to alter. If, in fact, memory is constructed, then collective memory is the handiwork of numerous and varied laborers, and numbers and variety do not make it any more reliable” (153).

But what I find most interesting about this careful reassessment of historical evidence and collective memory is that, while it makes a strong case against thinking of what happened on 19 December 1860 along Mule Creek on the Pease River in north Texas as a decisive battle in a long war, it demonstrates even more convincingly just how significant the event is for “the larger story of Anglo-Indian conflict in Texas” — and for the mythic representation of Texas that has played (and continues to play) a role in the mythic representation of the United States. What happened became part of a story on which Sul Ross built a political career that included being elected governor of Texas and of which one of the circles of “we” a sizable number of Texans have drawn around themselves for over a century has been largely constructed.

The authors are aware of this, as the title makes clear. This book is about myth, memory, and massacre — and that is important because those three terms and the human actions they name are aspects of the way we understand ourselves. They are ways in which we answer the question of what we mean by “we,” and, implicitly, who we identify as “they.” In the long run, this is at least as important as (and I would say generally more important than) the specifics of a particular battle, the firepower of the armies involved, or the particular flags under which those involved in the battle fought (or were caught in the crossfire). It is more important than those factors at least in part because it determines whether what happened is remembered as a “battle” or as a “massacre,” something to celebrate or something to regret — or is forgotten. Recent history confirms just how important that distinction can be.

The event that occasions this book is familiar, particularly to those who grew up (as I did) in north and northwest Texas. Most of us have heard the story more than once, in more than one variation: in December 1860, a force composed of U.S. cavalry and Texas Rangers stumbled upon a Comanche hunting camp on the Pease River. They raided the camp, killed a number of people, and took three prisoners, one of whom was a woman later identified as Cynthia Ann Parker, a member of a prominent Texas family who had been taken captive as a child in a raid on Parker’s Fort in 1836. The woman, whose name was Naudah, was married to Peta Nocona and had a daughter (also captured in the 1860 raid) and two sons (neither of whom was present at the time of the 1860 raid). One of the sons, Quanah, went on to become famous as a chief and as a founder of the Native American Church.

Carlson and Crum are historians, and they are Texans. Both identifications give them reason to be interested in what happened. And that interest means another telling of the story, one that is of particular value because it is aware of a wide range of previous tellings (including tellings in Comanche oral tradition) and because — in the process of remembering — it is attentive to the dynamic and political character of memory in relation to identity. How the woman (Naudah/Cynthia Ann Parker) is named — and by whom — shapes and is shaped by the story. That she was a member of a prominent family meant that her capture in 1836 and again in 1860 would be told and told again. It meant that the question of who captured her would be a significant part of the story. This has been a familiar element of war stories in the West since Homer sang the wrath of Achilles, which was provoked by what happened to two women in another war. That her son became famous as a Comanche political leader added another layer of significance and transformed the story over time. That one of the men who claimed to have been responsible for the capture in 1860 became famous as a Texas political leader occasioned further transformation. That the Comanches were forcibly removed from Texas and that the removal had considerable impact on the current shape of the state means that this is a yarn still being spun.

And in the spinning, one hopes, we learn something about what we make of ourselves, of our struggles, and of the worlds we inhabit as we continue to make history. The publisher tells us that Carlson and Crum seek to “set the record straight” (as did Quanah Parker, who spoke at the Texas State Fair in 1910 of “making some Texas history straight up”). Getting stories straight, of course, is a passion of historians; but it is the making of history more than the “straightness ” of it, the recognition that memory is always being made, that what is in it and what is not are both important, that is most significant here.

Every memory is a construction, an act with personal and political significance. That includes war stories. And knowing that, in making them, we make the “we” of which we think ourselves a part may make us more critical both in our making and in our hearing. Particularly when it comes to war stories (which are often told straight up by those who were not there as well as those who were), knowing that is a critical skill. We struggle to get stories right, to set the record straight. And the straighter we set it, the harder it is to challenge within the circle of that “we.”

Carlson and Crum are to be commended for stepping outside one such circle to unstraighten the “true” record with which it has been made. I think it would be a good thing if, in our memories of wars as well as our anticipations of them, we followed their example.

Steven Schroeder, Chicago

Paul H. Carlson and Tom Crum. Myth, Memory, and Massacre: The Pease River Capture of Cynthia Ann Parker. Lubbock, TX: Texas Tech University Press, 2010. ISBN 978-0-89672-707-6.

fifty poems

fifty glimpses

sound as
well as
sight.

listen to
the blue
of seven
magpies,

seven magpies, blue with age

last night’s rain
in daffodils

bent, enclosed by gold-ringed eye

fragments, gathered
when they
caught

the ear of a poet’s eye
the way a broken
thing

is apt to do, looking
for all the world
in this

light like a jewel,
like a piece of a world
in pieces, sounded. no

coherence, sampled,
presences say

look, say look
here, now, look,
again, again

now. listen.

Steven Schroeder, Chicago

Liana Quill. Fifty Poems. Hattiesburg, MS: Mississippi Review Press, 2004. ISBN 978-0-9842652-1-3.